art meets tech

What is MR and How Does it Create Exceptionally Immersive Experiences?

What is MR and How Does it Create Exceptionally Immersive Experiences?

MR, or Mixed Reality, is appearing across the arts world, but its actual meaning is not well understood. A strong beginning includes a foundational understanding of the concepts of reality and virtuality. The future application of MR technology is unlimited, increasing the possibility of creating experiences that reflect what is seen in sci-fi films. While many practitioners believe that MR is the future, the technology lacks popularity in the consumer market. However, with the continuous development of MR technology, more cost-effective solutions will be found, and the future of a truly immersive experience will come.

Comparing Digital Access with Arts Vibrancy in the U.S.

Comparing Digital Access with Arts Vibrancy in the U.S.

An estimated 18 million households in the United States do not have access to home broadband. This is a statistic that arts managers should consider when planning online programming and in-person events as the world opens up. By looking closer at the digital divide and comparing counties’ internet access to their arts vibrancy, as measured by SMU DataArts, this article will look at the United States’ digital divide and how it impacts opportunities for arts participation.

Artist Perspectives on Net Art and New Media

Artist Perspectives on Net Art and New Media

In less than three decades, the end of net art movement has been announced more times than its new beginning has been declared. The early 2000s brought a new group of net artists who saw utopian potential in the internet and began using it as a tool to demonstrate independence from traditional art markets. The net artists of today are more easily defined within the genre of new media art rather than net art since their work explores not only the technology of the internet but also the technologies employed on the internet and the socio-political contexts that it produces. Stereyl and Blas—two artists included in this post—reflect a sentiment of contemporary new media artists: the virtual ecosystem is not the same as it was a ten years ago. What defines new media art is a continuing analysis and reflection on this ecosystem.

Orchestras' Post-Pandemic Digital Future

Orchestras' Post-Pandemic Digital Future

There is no use in waiting for the world to “go back to normal”: orchestras need to keep pushing forward and adjusting to the new reality. Covid-19 has proven, yet again, that people are interested in classical music, that it can and should have a stronger online presence, and that it has the power to bring peace—especially in times of uncertainty. Orchestras need to stake their place and assert their relevance in society. I envision a world where orchestras operate using “two stages”: one physical and one digital.

How Covid-19 Has Impacted Live Audience-Based TV Shows

How Covid-19 Has Impacted Live Audience-Based TV Shows

One of the areas of the entertainment industry that has been hit the hardest by the Covid-19 pandemic is live audience-based TV. Not only is it difficult for show participants to film in person, but social distancing guidelines also prevent live audience members from attending normally. To investigate the effects of the pandemic on live audience-based TV, this post will look at the political, economic, social, and technological factors that are impacting live entertainment in the United States.

Third Place Theory and Virtual Platforms: How Arts Organizations Might Build Community Online

Third Place Theory and Virtual Platforms: How Arts Organizations Might Build Community Online

Arts organizations play important roles in their communities beyond providing access to art itself. Arts organizations are also valued venues for human connection. In LaPlaca Cohen’s Culture Track 2017, 68% of respondents indicated “interacting with others” as a draw for cultural participation, and about half of respondents in LaPlaca Cohen’s 2020 study, Culture and Community in a Time of Crisis, revealed desires for cultural organizations to communities “stay connected” during this time. These data points demonstrate that audiences look to arts organizations to not only foster connections through art, but also nurture communities beyond the art. One way to do this is by creating virtual third places. While arts organizations are unlikely to build entire VR-based worlds for their patrons, arts administrators might consider how to adapt existing platforms to help reproduce some if not all of the socially-leveling, conversation-focused environments they’ve worked to cultivate in their physical spaces.

Adapting to the Pandemic: The Enterprise Center and Wolf Trap

Adapting to the Pandemic: The Enterprise Center and Wolf Trap

To investigate how the Covid-19 pandemic is affecting the live music industry, we will look to case studies of venues that normally host concerts. In this first set of case studies, we will look at the Enterprise Center and the Wolf Trap Foundation for the Performing Arts. The Enterprise Center is a 22,000 capacity (for concerts) arena in St. Louis, Missouri. Located in Northern Virginia, Wolf Trap Foundation for the Performing Arts was the first National Park dedicated to the performing arts. Performances take place at the Filene Center, The Barns, and Children’s Theatre-in-the-Woods, and the foundation also operates the Wolf Trap Opera Company. Because it is currently not safe for either of these venues to operate at full capacity, these case studies will investigate technology-based alternatives.

Virtual Production in Television and Beyond

Virtual Production in Television and Beyond

As discussed in Part I of this series, virtual production (VP) is the unique intersection of physical and digital filmmaking that blends video game technology with filmmaking techniques into the pre-production and production process. VP is not just the technology that allows the integration of digital and traditional techniques, but also the methods through which it is used. If implemented in the TV industry, VP could lead to reduced costs since it allows for increased efficiency in the production process. Many other industries could also learn from this streamlined process, including live entertainment and the arts.

An Introduction to Virtual Production and Its Use in the Entertainment Industry

An Introduction to Virtual Production and Its Use in the Entertainment Industry

Virtual production (VP) is “a broad term referring to a spectrum of computer-aided production and visualization filmmaking methods.” It is not just the technology itself, but also the methods through which it is used. In Parts I and II of this series, we are investigating the technology as well as the methodologies of VP in the broadest definition. The types of VP we will discuss in this post are visualization, performance capture, and LED walls. While VP has benefited the film industry specifically, as innovation with the technology continues, other fields of entertainment—such as live entertainment, fashion, and news reporting—are also leveraging virtual production’s capabilities. The arts and entertainment sector could benefit from learning more about these methods and considering how they could apply these technologies to create engaging virtual experiences.

The Fight over Net Neutrality is Far From Over

Last month, I wrote about what I consider to be the most important public policy issue affecting the arts/technology community, the issue of net neutrality. Since then, a wave of new developments have shifted the playing field and ratcheted up the fight over what is quickly becoming one of the most contentious policy issues in all of Washington. With the new FCC regulations slated to go into effect this Sunday, the legal and political wrangling over the issue is far from over, and the very future of the Internet as we know it is at stake. First, a quick overview: the issue of net neutrality has received a fair amount of coverage recently because a new set of regulations passed by the Federal Communications Commission (FCC) last December are set to go into effect this Sunday, November 20th. The regulations primarily do three things: they prohibit broadband providers from blocking lawful web traffic; require a greater deal of transparency from broadband providers regarding their network practices; and most importantly, require broadband providers to not discriminate in transmitting lawful network traffic over consumers’ internet service.

While not perfect, these regulations are an important step to ensure that the concept of the “open Internet,” or the idea that all internet traffic is treated equally, continues going forward. Simply, it would preserve open Internet access for consumers, and not allow telecommunications companies to discriminate certain types of data as they see fit.

With the new regulations slated to go into effect shortly, Republicans in Congress have sought to overturn the rules, arguing that they go too far and that new government regulations are not necessary. This past Thursday, the Senate failed to round up the votes necessary to pass a resolution overturning the rules, failing on a party line vote of 52-46, with Democrats voting in the majority to stop the bill from going forward. The Republican-controlled House voted in April on a similar bill, which passed by a vote of 240 to 179.

The opposition in Congress stated that they also believe in the concept of an “open Internet,” but felt that such regulations were better written by Congress themselves and not the FCC.

Supporters of the new regulations, including the FCC, claim that the rules bring a degree of certainty to the internet community. In a statement, the FCC stated that “any effort to disrupt or unsettle that certainty, which has been widely supported by industry, will only undermine innovation and investment in this space.”

Even if the Senate had passed the legislation, President Obama had vowed to veto the bill, ensuring that any legislative efforts to roll back the regulations will fall short of success at least through the 2012 election.

The real immediate fight, however, over the regulations will be fought in court. Several telecommunications companies, most notably Verizon, have pending lawsuits seeking to nullify the regulations, claiming the federal government and the FCC do not have the authority to exercise regulatory power over the Internet. Attempts by the FCC to regulate the internet in the past have failed in the courts, so there is legitimate concern that the current case may meet the same fate.

In addition to concerns over potential content discrimination, there are other areas where telecommunication companies may seek to change their business practices if the regulations do not go into effect. The most common concerns are over higher premiums being charged for faster data speeds, or deliberately slowing down speeds for specific websites or services that may compete with the firm providing the internet access.

As I said last month, the issue of net neutrality impacts all communities, and many of the innovative and inspiring new art works and technologies we have highlighted here on the blog in recent months stand to be impacted if efforts to weaken the regulations are successful. Innovation is best achieved when entrepreneurs, artists and managers have the freedom to use technology to share their art with the world, and the openness of the Internet since its inception has facilitated countless new art forms and inspired a new generation of artists. It would be a shame to see that kind of progress stifled at the hands of Congress or the court system.

After the defeat of the Senate bill, the White House released a statement, saying that “it would be ill-advised to threaten the very foundations of innovation in the Internet economy and the democratic spirit that has made the Internet a force for social progress around the world.” As the fight over net neutrality moves forward and the regulations go into effect on Sunday, it’s important to remember that a free and open Internet is in the absolute best interest of the arts community, and is worth fighting for. That’s a bipartisan belief that everyone in the arts community can appreciate.